University of Waterloo Department Of Music. Music 240, INTRODUCTION TO JAZZ, Winter 2017 Professor: Bonnie (Patricia) Brett

Size: px

Start display at page:

Download "University of Waterloo Department Of Music. Music 240, INTRODUCTION TO JAZZ, Winter 2017 Professor: Bonnie (Patricia) Brett"

Kristian Morrison
6 years ago
Views:

1 University of Waterloo Department Of Music Music 240, INTRODUCTION TO, Winter 2017 Professor: Bonnie (Patricia) Brett Lectures: Tuesdays 6:00 8:50 PM Conrad Grebel University College CG Room #1208 Office Hours: Tuesdays 4:00 PM 6:00 PM CG Room # 1113 (519) ext Course Syllabus Course Description and Objectives: An introductory survey of jazz history, culture and repertoire. Topics explored include the roots and development of the main periods and styles of jazz, the lives of important jazz artists and composers, and significant concurrent historical events. Repertoire recognition and learning how to listen to jazz are the primary objectives of this course. Prerequisites: Curiosity about jazz and big ears. Required Text: Jazz (2 nd edition) 2015 Scott DeVeaux; Gary Giddins W.W. Norton and Company ISBN * Students who do not wish to invest in the hard copy of this text can gain access to the EBook at a lower price at: Resources: WW Norton StudySpace Student Website - offers sound-files, chapter outlines, a glossary of terms and podcast tutorials from the authors of Required listening sound files will be available online at U of Waterloo s LEARN website.

2 2 (Resources cont.) Oxford Music Online is an e-resource that can be accessed from the University Library Home Page (On Line Reference Shelf) You will need to sign in using your library card. Oxford Music Online includes the Grove Dictionary of Jazz and is an excellent all-round resource for music research. Occasionally extra music or reading may be posted on LEARN Evaluation: Listening and Terminology Tests (2 X 24%) 48 % Written Assignment 15 % Final Test 25 % Attendance & Participation 12 % Required Listening Music Files online at LEARN: The most important, required component of this course is listening to jazz music. ALL required listening items are posted on the UW LEARN Music 240 website, found within six designated Modules containing individual mp3 files. Complete listings of sound file contents appear in the Music 240 Discography found at the end of this Course Syllabus. TO ACCESS SOUND FILES: Go to U of Waterloo s LEARN site using your WatIAM user ID and password. Select Music 240. Go to Course Materials in top left menu, and select Content. Select the desired module and then the desired sound file. Access the file, and you can play it on your computer or follow the prompt to download the tunes into your computer.

3 3 Tests and Assignments Quizzes: Listening and Terminology (Keywords) Three quizzes (1 every 3 weeks) will test students on Musical Examples From Modules 1-6 and on jazz terminology (Keywords) In the listening portion of each quiz students need to know: 1) the title of the musical example, 2) the name of the performer/composer, genre/style and year the recording was made (the era or time period) of the recording, 4) the basic musical form of the example. In the terminology/keywords portion of each quiz students will provide short definitions for a number of keywords and jazz concepts. These definitions should include cited examples of songs from music listened to in class. Each quiz will be a closed-book quiz. No electronic devices (computers/iphones, etc.) may be accessed during the quiz. If such items are found, the student will receive no credit for the quiz. All materials to be included in listening quizzes will be confirmed before quizzes take place to give students ample time to do their listening. NOTE: This material is not easy to cram The night before a quiz is NOT a great time to begin. Do yourself a favour and make listening a daily part of your study routine. Written Assignment: Choose one of the following options. Option a) How did Bebop change jazz? Write a short essay (5 pages approx words double spaced + Bibliography / Works Cited) in which you discuss the changes to jazz brought about by Bebop in terms of musical elements such as performance practises, instrumentation, rhythm and harmony. Option b) Create a Listening Guide: Using the listening guides in your textbook as templates, make a listening guide of your own for one of the songs in modules #5 or #6 (Additional Listening) List all performers and instruments. (Cont d)

4 4 Option b) Cont d Provide a brief (one or two paragraphs) biography of the principal performer. Provide a paragraph or two explaining your reasons for choosing this particular musical example. (Reasons can include historical or musical significance, the song s relative popularity, or simply that you just love it or just hate it explain your reasons.) Provide a list of What to listen for: Make your own time line or flow chart of the song s form and progression. Option c) Compare different versions of either All Of Me or Flying Home Write a short essay (5 pages double spaced) comparing the three versions of All Of Me recorded by Billie Holiday, Ella Fitzgerald and Sarah Vaughan. In your own words describe what you hear in terms of timbre, rhythm, arrangement / instrumentation and each singer s treatment of the melody and lyrics. Do you have a favourite version? Explain why. OR Compare the three versions of Flying Home (Benny Goodman, Lionel Hampton and Ella Fitzgerald) In terms of instrumentation/arrangement, timbre, rhythm and melody what differentiates each version. Do you have a favourite version? Explain why. IMPORTANT: The bibliography/works cited page is in addition to the four pages of your written assignments. Cite musical examples from your list of recordings to illustrate each point. ALL references to your textbook, Oxford Music Online and recordings must be cited in your Bibliography / Works cited page. All Internet sources must be cited. Rule of thumb: IF IT ISN T YOURS CITE IT! This applies to quotes, articles, ideas from books, recordings, photographs (YES PHOTOGRAPHS) and anything else you didn t create, shoot or think up yourself. *** Consult the Chicago Manual of Style for proper formatting of Works Cited page, footnotes and discographical citations etc.

5 5 Academic Integrity: In order to maintain a culture of academic integrity, members of the University of Waterloo are expected to promote honesty, trust, fairness, respect and responsibility. Guidelines and links from University of Waterloo regarding Academic Integrity and related topics Discipline: A student is expected to know what constitutes academic integrity, to avoid committing academic offences, and to take responsibility for his/her actions. A student who is unsure whether an action constitutes an offence, or who needs help in learning how to avoid offences (e.g., plagiarism, cheating) or about rules for group work/collaboration should seek guidance from the course professor, academic advisor, or the Undergraduate Associate Dean. When misconduct has been found to have occurred, disciplinary penalties will be imposed under Policy 71 Student Discipline. For information on categories of offenses and types of penalties, students should refer to Policy 71 - Student Discipline, Grievances: A student who believes that a decision affecting some aspect of his/her university life has been unfair or unreasonable may have grounds for initiating a grievance. Read Policy 70 - Student Petitions and Grievances, Section 4, Also consult for the Faculty of Arts grievance processes. Appeals: OR A student may appeal the finding and/or penalty in a decision made under Policy 70 - Student Petitions and Grievances (other than regarding a petition) Policy 71 - Student Discipline if a ground for an appeal can be established. Read Policy 72 - Student Appeals, Academic Integrity website (Arts):

6 6 Academic Integrity Office (uwaterloo): Accommodation for Students with Disabilities: Note for students with disabilities: The AccessAbility Services (AS) Office, located in Needles Hall, Room 1132, collaborates with all academic departments to arrange appropriate accommodations for students with disabilities without compromising the academic integrity of the curriculum. If you require academic accommodations to lessen the impact of your disability, please register with the AS Office at the beginning of each academic term. Appeals: A decision made or penalty imposed under Policy 70 (Student Petitions and Grievances) (other than a petition) or Policy 71 (Student Discipline) may be appealed if there is a ground. A student who believes he/she has a ground for an appeal should refer to Policy 72 (Student Appeals)

7 7 Tentative Lecture Schedule Lectures Week/Date 1 Jan. 3 2 Jan Jan. 17 Material Covered Introduction: Instruments, Form, Rhythm, Terminology Beginning a glossary/ /List of Keywords ==== The Roots of Jazz: Africanisms Blues, Ragtime New Orleans === Great Migration Harlem Renaissance Tin Pan Alley Louis Armstrong The Swing Era Begins The Swing Era Duke Ellington / Count Basie Assigned Reading Chapters 1-3 Chapter 4-6 Chapter 7-9 Assigned Listening Module #1 & I Got Rhythm Modules #1 & 2 Modules #1 & #2 Important Dates: Assignments Due Quizzes Final Test Listening and Keywords Quiz #1 4 Jan. 24 The Swing Era 5 Jan Feb. 7 Bebop Klook, Bird and Dizzy Hard Bop Chapters 7-9 Chapters Chapters12-13 Modules #2 & #3 Modules #2 & #3 Modules #2 & #3 Jan 23 Final day to drop course without academic penalty. Listening and Keywords Quiz #2 Modal Jazz 7 Feb. 14 Module #3 Chapter 14 Feb READING WEEK READING WEEK READING WEEK READING WEEK Singers Written 8 Feb. 28 (See Chapter 16) Chapter 16 Module #6 Assignment Due The Avant Garde Listening and 9 Mar. 7 Chapter 15 Module #4 Keywords Quiz #3 10 Mar. 14 Fusion Jazz Chapters Modules #4 - #6 11 Mar. 21 Jazz Today Chapters Module #4 12 Mar. 28 Final Test Modules #1 - #6 Final Test

8 8 MUSIC 240 Course Discography Module #1 The Norton Jazz Recordings Listening Guides Pre Jazz, Blues & Early Jazz Title Performer(s) Listening Guide Page # 1. The Buzzard Lope Georgia Sea Island Singers Reckless Blues Bessie Smith Down Home Rag Wilbur Sweatman Dixie Jass Band One-Step Original Dixieland Jazz Band Dead Man Blues Jelly Roll Morton Snake Rag King Oliver Cake Walking Babies From Home The Red Onion Jazz Babies Changes Paul Whiteman Orchestra Copenhagen Fletcher Henderson You ve Got To Be Modernistic James P. Johnson Black and Tan Fantasy Duke Ellington & His Orchestra Hotter Than That Louis Armstrong & His Hot Five West End Blues Louis Armstrong & His Hot Five Weather Bird Louis Armstrong / Earl Hines Singin The Blues Bix Beiderbecke / 120 Frankie Trumbauer 16. Blue Lou Fletcher Henderson 139

9 9 Module #2 The Norton Jazz Recordings Listening Guides Boogie Woogie, Swing Title Performer(s) Listening Guide Page # 1. Dinah Benny Goodman Star Dust Artie Shaw Annie Laurie Jimmie Lunceford It s All Right Baby Big Joe Turner / Pete Johnson Walkin and Swingin Andy Kirk / Mary Lou Williams One O Clock Jump Count Basie Mood Indigo Duke Ellington Conga Brava Duke Ellington Blood Count Billy Strayhorn/ Duke Ellington Body and Soul Coleman Hawkins Oh! Lady Be Good Count Basie / Lester Young I m Coming Virginia Benny Carter / Django Reinhardt You re Driving Me Crazy Valaida Snow A Sailboat in the Moonlight Billie Holiday Blue Skies Ella Fitzgerald Christopher Columbus Fats Waller Over The Rainbow Art Tatum Swing To Bop (Topsy) Charlie Christian 218

10 10 Module #3 The Norton Jazz Recordings Listening Guides Modern Jazz Bebop, Hard Bop, Mainstream & Modal Title Performer(s) Listening Guide Page # 1. Ko-Ko (false start) Charlie Parker 2 Ko-Ko (master take) Charlie Parker Embraceable You Charlie Parker Now s The Time Charlie Parker Tempus Fugue-It Bud Powell Long Tall Dexter Dexter Gordon Venus de Milo Miles Davis Vendome Modern Jazz Quartet (MJQ) Song For My Father Horace Silver A Night In Tunisia Clifford Brown I m An Old Cowhand Sonny Rollins Thelonious Thelonious Monk Rhythm-a-ning Thelonious Monk Boogie Stop Shuffle Charles Mingus King Porter Stomp Gil Evans Concerto For Billy The Kid George Russell So What Miles Davis 316

11 Witchcraft Bill Evans Giant Steps John Coltrane Acknowledgement John Coltrane E.S.P. Miles Davis 330

12 12 Module #4 The Norton Jazz Recordings Listening Guides Avant Garde, Bossa Nova & Fusion Title Performer(s) Listening Guide Page # 1. Lonely Woman Ornette Coleman Bulbs Cecil Taylor Ghosts Albert Ayler Spirit Possession Anthony Braxton / Max Roach Hattie Wall World Saxophone Quartet O.G.D. Wes Montgomery / Jimmy Smith All Of Me Sarah Vaughan Manteca Dizzy Gillespie Só Danço Samba Stan Getz / João Gilberto Una Dia Bonito Eddie Palmieri Teen Town Weather Report Cantaloupe Island Herbie Hancock Chank John Scofield / Medeski, 417 Martin and Wood 14. Why Do We Try Robert Glasper The Pearls Wynton Marsalis Maiden Voyage SF Collective My Favorite Things Betty Carter Timeline Michael Brecker 445

13 You ve Got To Be Modernistic Jason Moran Lude Vijay Iyer Short And Sweet Esperanza Spalding John Henry Cécile McLorin Salvant Calypso Minor Abdullah Ibrahim 470

14 14 Module #5 Additional Listening Instrumental Jazz 1. Moten Stomp Benny Moten Moten Swing Benny Moten Jumpin At The Woodside Count Basie Take The A Train Billy Strayhorn / D. Ellington C Jam Blues Duke Ellington (w/ Ray Nance) Pitter Patter Panther Ellington & Jimmy Blanton Flying Home Benny Goodman Flying Home Lionel Hampton Ornithology Charlie Parker St. Thomas Sonny Rollns Four Miles Davis The Promise John Coltrane Hot House Dizzy Gillespie What Is This Thing Called Love? Bill Evans Trio Soul Station Hank Mobley Senor Blues Horace Silver The In Crowd Ramsey Lewis Poinciana Ahmad Jamal Space Is The Place Sun Ra Arkkestra 1984

15 15 Module #6 Additional Listening Vocal Jazz 1. Run Old Jeremiah Ring Shout Old Alabama Lomax Prison Recordings Backwater Blues Bessie Smith / James P. Johnson Sent For You Yesterday Jimmy Rushing w/ Count Basie He Ain t Got Rhythm Jimmy Rushing W/ Benny Goodman Swing It Brother Swing Billie Holiday w/ Count Basie He Ain t Got Rhythm Billie Holiday All Of Me Billie Holiday Take The A Train Betty Roché w/ Ellington A Tisket A Tasket Ella Fitzgerald All Of Me Ella Fitzgerald Duke s Place (C Jam Blues) Ella Fitzgerald w/ Duke Ellington Flying Home Ella Fitzgerald How High The Moon Ella Fitzgerald How High The Moon Sarah Vaughan How High The Moon Ella Fitzgerald Live In Berlin What Is This Thing Called Love? Sarah Vaughan Someday Sweetheart Bing Crosby c The Song Is You Bing Crosby You re Driving Me Crazy Betty Carter The Surrey With The Fringe On Top Betty Carter 1970

16 Get It Straight Carmen McRae I Only Have Eyes For You Carmen McRae Sweet Georgia Brown Anita O Day Old Devil Moon Anita O Day 1957

ETHN 179A and MUSIC 127A Music of African Americans ANTHONY DAVIS JAZZ: ROOTS AND DEVELOPMENT (19OO-1943)

ETHN 179A and MUSIC 127A Music of African Americans ANTHONY DAVIS JAZZ: ROOTS AND DEVELOPMENT (19OO-1943) This course will trace the early development of Jazz and the diverse traditions that helped create